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Please welcome British indie developer and organizer Nate Head to Sacred Symbols+. About a month ago, I (Colin) encountered a compelling article Nate wrote on gamesindustry.biz about employment in game dev, and I knew I had to invite him to the show. As one of the proprietors of sorcery.gg -- a bold attempt to collate the wide constellation of industry job listings -- Nate and his team have access to interesting stats and insights that shed light on the fairly tumultuous realities of getting hired by a studio or publisher. And really, there's an enormous amount of texture to the data. Surprisingly so! Thus, it's imperative you join us as we delve into all matter of employment-related topics: Remote work, labor unions, junior roles, gaining experience, the internationalization of work, what it's like on the ground in America, Western Europe, Eastern Europe, Japan, China, and elsewhere, and a ton more. With so many games finding their way to market, you'd think making them would be an easy route to take, backed by enormous demand. But the competition is harsh, the stakes are high, the money is always on the verge of being pulled, and unless you work in one of our space's secure locations, you have to be here quite literally for the love of the game. Please enjoy.

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WhatDarrenPlays

Enjoyed the chat! Surprised there aren’t more comments because you covered some really big topics. I do disagree with Colin’s idea of “movie-like” game development. I don’t think it’s very feasible, mainly because of the tech and time involved. A simple example is Naughty Dog making Uncharted 1 and 3 on the same console. Over time they learned the hardware, improved their engine, and refined their workflow. That kind of accumulated knowledge is extremely important - teams get more efficient the longer they work together, and it's not just the cell architecture that proves this. If studios shut down teams after every project and rebuild from scratch, you lose all that momentum. A shared engine like Unreal might reduce some of that loss, but it still wouldn’t solve the deeper problem; proprietary tools, pipelines, and technical knowledge are highly project-specific. Game development isn’t interchangeable in the way film production often is. Honestly, I think the opposite is true: keeping teams together longer would speed up development and reduce costs. A lot of slowdowns come from scaling teams too aggressively and from the COVID-era hiring wars. I knew developers who switched studios three times in a single year because they were offered substantially higher pay. Every time that happens, months are lost onboarding and rebuilding team knowledge. And Like Nate said, Colin's method would be quite uncertain for developers too. The human cost would be a massive turn off to working in the industry with literally no security.

Cruelty-free Pleatherface with electric chainsaw

Please write this in for Sacred this week. I’ve kind of instinctually waved away this idea Colin has been shopping around, but you did a great job of explaining why. Movies and games simply aren’t the same. Plus, this idea of it being safer financially—for who? Certainly not the actual people making the games. It’s clear to me that while something needs to change in (AAA mostly) development (photorealism is a fool’s errand), it’s not to take away a stable job.

Gareth H

Why are hardly any comments on this? I’m just getting around to listening but this looks like a great episode!

Gareth H

Agree, please write in. I also feel it can’t work and you did a great job of explaining why!

Daddy T

Great conversation! Nate seems like a cool guy. Severe lack of comments but I’m sure that’s because there’s nothing to complain about lmao